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Category: Pulp

A (Black) Gat in the Hand: Will Murray on Dash(iell) and (Lester) Dent

A (Black) Gat in the Hand: Will Murray on Dash(iell) and (Lester) Dent

Frequent guest columnist, New Pulp maven Will Murray, is back with more speculation: this time linking about the two biggest names in Pulp. Was Dashiell Hammett a Lester Dent fan? Well, let’s find out! 

The so-called Pulp Jungle, as Frank Gruber once called it, was a densely populated wonderland, at least insofar the greatest concentration of pulp magazine writers lived in or in close proximity to New York City, where most of the publishers were established.

Late in life, Theodore Tinsley, a regular contributor to Black Mask, The Shadow, as well as numerous other top pulp titles, recalled:

“Pulpland seems a strange, purple-clouded island, in a warm sea somewhere far off, where some of the damnedest elves and goblins I ever met used to say and do strange things, especially when drunk.”

Thanks in part to the American Fiction Guild, a writer’s association which flourished during the 1930s, a great many of these writers and their editors convened for Friday luncheon gatherings at Rosoff’s restaurant on 43rd Street. They socialized, vacationed together, dated, and even married. It was virtually a subculture delineated and confined by a common vocational focus.

Others, scattered throughout the country, kept in touch by letter. But not everyone knew everyone else, except possibly by reputation.

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Ghosts and Death Songs on Mars: Under the Moons of Mars: New Adventures on Barsoom, edited by John Joseph Adams

Ghosts and Death Songs on Mars: Under the Moons of Mars: New Adventures on Barsoom, edited by John Joseph Adams


Under the Moons of Mars: New Adventures on Barsoom (Simon & Schuster, February 2012). Cover by Mark Zug

Under the Moons of Mars: New Adventures on Barsoom has “Inspired by the work of Edgar Rice Burroughs” on the cover. I hesitated about picking this one up. A note on the back said: “Not licensed or authorized, or in any way affiliated with, Edgar Rice Burroughs, Inc.” This suggested some kind of controversy surrounding the publication and it seems awfully easy these days to step on toes and get hated for it. I don’t enjoy that kind of thing. But, it had stories by Joe Lansdale, Jonathan Maberry, and S. M. Stirling in it, and I knew all three of those could write. So I pulled the trigger.

Overall, I found the anthology enjoyable, and even though it seemed generally marketed for “teen” readers, the stories were far from simple and unsophisticated. I thought there were three particularly strong stories, as well as several others I liked a lot.

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From Decades of Robert E. Howard Scholarship: The Solomon Kane Companion by Fred Blosser

From Decades of Robert E. Howard Scholarship: The Solomon Kane Companion by Fred Blosser


The Solomon Kane Companion by Fred Blosser (Pulp Hero Press, June 17, 2025)

If you’re familiar with Robert E. Howard Fandom, you already know who Fred Blosser is. I first encountered his work back in the early 1970s, when he was writing articles and reviews for Marvel Comics’ Savage Sword of Conan magazine.

For SSoC, Blosser authored well-researched articles about topics such as the Picts in Howard’s fiction, REH Fanzines, Howard’s Kozaks, and a history of Howard’s puritan adventurer, Solomon Kane.

Now Blosser has taken that last one much farther, producing a book called The Solomon Kane Companion, published by Pulp Hero Press, who kindly sent me a review copy. As I mentioned, Kane is a puritan, and his adventures take place in the Elizabethan era. He was created by Robert E. Howard while Howard was still in high school, and his first published appearance was in the August 1928 issue of Weird Tales, in the story “Red Shadows.”

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A (Black) Gat in the Hand: Will Murray asks, ‘Do Lost Raymond Chandler Stories Exist?’

A (Black) Gat in the Hand: Will Murray asks, ‘Do Lost Raymond Chandler Stories Exist?’

“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.
– Phillip Marlowe in Raymond Chandler’s The Big Sleep
(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)

Will Murray makes a return to A (Black) Gat in the Hand. Last month, Strand Magazine (who I wrote DVD reviews for in a prior century) published a lost Raymond Chandler story. Which got Will to thinking…

The recent discovery of a previously unknown and unpublished short story by Raymond Chandler reminded me of a question that’s lingered in my mind for a very long time.

How did Chandler in the early years the Depression support himself and his wife writing for Black Mask and other titles when he only sold a two or three stories a year?

Black Mask was then paying only a penny or a penny and a half a word for fiction to any but their top writers. Chandler was writing stories that were roughly 12 to 18,000 words long. He received $180.00 for his first sale, Blackmailers Don’t Shoot. Even considering what a penny could buy in 1933, when a loaf of sliced bread cost 3 cents, Chandler wouldnt have been able to survive solely writing for Black Mask.

It wasnt until 1935 that he broke into Munsey’s Detective Fiction Weekly, which probably paid him two cents a word, and possibly more. A considerable raise, but still far short of what was required for subsistence living. And he only sold one story to DFW, Noon Street Nemesis.

Since Chandler had been a well-paid oil company executive until he lost his job in 1932, conceivably his savings carried him for some period. But according to Chandler biographer Tom Hiney, by the time he started working on Blackmailers, Chandler’s savings had been all but exhausted. The story took him five months to write. Add another month or so until he received the acceptance check. So that’s $30.00 a month for six months toil, paid at the end of the six-month period. At his old executive position, Chandler’s salary had approached $10,000 a year.

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The Battleborn Interviews: the Final Chapter!

The Battleborn Interviews: the Final Chapter!

Having returned the Eye of Rhynn and the Hand of Kwll to their rightful (quite frightening) owners, Sean CW Korsgaard and I sat down to conclude our Sword & Sorcery chat, and to focus once more on his upcoming magazine Battleborn. Thanks to a successful Indiegogo campaign, Issues One and Two are now fully funded, both digital and print.

Read Part One of the interview here, and Part Two here.


Battleborn is positioning itself as a sword & sorcery outlet. Speaking both as editor and fan, how is that different from epic or high fantasy? What elements or touches make a story S&S?

What makes the sword-and-sorcery subgenre are a combination of five factors. First up, the Protagonist. Unlike, for example, epic fantasy, which have large casts or changing points of view, a work of S&S typically follows a single protagonist, or the odd duo. I say protagonist instead of hero for a reason –– many of these characters are rogues, mercenaries, rebels, savages, and scoundrels, if not antiheroes or outright villainous. They are often underdogs or outsiders, and often on the road or far from home, akin to lone gunslingers of American westerns and the wandering samurai of Japanese folklore.

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The Sword & Planet of Edmond Hamilton, Part I

The Sword & Planet of Edmond Hamilton, Part I


Crashing Suns by Edmond Hamilton (Ace Books, 1965). Cover by Ed Valigursky

Edmond Hamilton, who I’ve mentioned here before as Leigh Brackett’s husband, wrote mostly Science fiction and I consider him one of the first generation of Space Opera writers. And one of the best of the bunch. You might wonder what Space Opera is and how it differs from Sword & Planet fiction, as well as from more mainstream SF. Well, let me explain.

Space Opera was coined to be used pejoratively, to denigrate a certain type of SF in which action and drama were king. This type of story supposedly only used the trappings of SF to tell an adventure tale rather than engaging with futuristic ideas. And the trappings included such things as ray guns, faster-than-light travel, and space battles.

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Space Opera vs Sword & Planet: Flash Gordon

Space Opera vs Sword & Planet: Flash Gordon

Flash Gordon is sometimes labeled Sword & Planet fiction. It meets quite a few of the characteristics. It has an Earthman, Flash, ending up on a strange world where he engages in battles with strange monsters and weird humanoid aliens, including winged men, bird riders, lion men, and others. However, it fails the S&P test on one major feature, the primary weapon used. When Flash is first challenged, if at all possible, he reaches for a ray gun rather than a sword.

John Carter, Dray Prescot, Jandar of Callisto, and Ruenn Maclang of Talera reach for a sword. For this reason, since “sword” is the very first word in Sword & Planet, I tend to classify the Flash Gordon stories as Space Opera and put them in a category of S&P adjacent. It’s a matter of taste, of course. I tend to be a splitter rather than a lumper, which means I tend to separate genres along narrower lines than some other folks. The images I’ve posted today, downloaded as public domain or as stills from the movie, illustrate this feature of the Flash stories.

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By Crom, It’s Cimmerian September: Arthurian Elements In the Conan Canon – Part II

By Crom, It’s Cimmerian September: Arthurian Elements In the Conan Canon – Part II

It’s installment three of Cimmerian September, and I’m going back to Spring of 2018 for today’s post. But it’s not a reprint (Hey: I think people should read last week’s essay on “Rogues in the House”!

I took a fantasy template developed by John Teehan, citing Arthurian elements to be found in almost any fantasy work. Well, at least one element can be, anyways. I applied the principles to the first four Conan stories: “Phoenix on the Sword,” “Frost Giant’s Daughter,” “The God in the Bowl,” and “The Tower of the Elephant.” You can click on this link to see that three of the four scored pretty low.

Well, we’re gonna look at the next three Conan stories: “The Scarlet Citadel,” Queen of the Black Coast,” Black Colossus,” and Iron Shadows in the Moon.”

So, let’s see how the stories shape up.

John Teehan, in The Complete Guide to Writing Fantasy: Volume One, challenges the reader to think of their favorite contemporary fantasy novels. And we’re talking Tolkien-onwards here, not just the past few years. Then he gives a list and says it would be difficult to think of a book that didn’t have any of the five themes on the list. He is making the point that the Arthurian legend, largely brought to popular culture by Thomas Malory, was an interweaving of those five themes. High fantasy epics like David Eddings’ Belgariad still follow this path.

I immediately thought about Robert E. Howard’s Conan tales and how they didn’t really emulate this pattern. Or so it seemed to me. My friend Deuce Richardson immediately pointed out two stories that did significantly incorporate these elements. So, I decided to start at the beginning and take a good look at “The Phoenix on the Sword”: then, do a less detailed survey of the following stories.

This time around, we’ll give “The Scarlet Citadel extra attention, then move on to the other two.

So, here we go!

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The Sword & Planet of Leigh Brackett

The Sword & Planet of Leigh Brackett


The Secret of Sinharat and People of the Talisman (Ace Double M-101, 1964). Covers by Ed Emshwiller

Leigh Brackett (1915 – 1978) is my favorite from among the second generation of Sword & Planet writers (S&P). Many people I meet recognize her name from her association with Star Wars: The Empire Strikes Back, for which she wrote the initial script. Or for the script to The Big Sleep, which she also wrote. Or, for several western movies she wrote the scripts for.

Those don’t mean anything to me, though. I know her from her Space Opera and S&P books, particularly the series featuring Eric John Stark.

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Sword & Planet from DMR Books: Henry Kuttner and Howie K. Bentley

Sword & Planet from DMR Books: Henry Kuttner and Howie K. Bentley


Startling Stories, May 1947; and Lands of the Earthquake by Henry Kuttner
(DMR Books, June 2017). Cover art by Earle Bergey and Logon Saton

Lands of the Earthquake/Under a Dim Blue Sun is a “Double” novel, in the tradition of the old Ace Doubles. It contains a long novella by Henry Kuttner called Lands of the Earthquake, and a shorter novella by Howie K. Bentley called Under a Dim Blue Sun. Both fit the Sword & Planet mold (S&P).

The publisher here is DMR books, and it’s printed in the old paperback size that I like. You can find DMR Books online or on Amazon. The cover art on the Kuttner piece is Logon Saton.

The Kuttner piece was first published in 1947 in Startling Stories but has not been reprinted until now. It involves a modern Earthman, William Boyce, being transported to a fantasy land where time stands still but physical space moves. This temporarily brings different lands close enough to each other to interact.

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